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Il Barbiere di Siviglia 2018 - Arena di Verona tickets

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Il Barbiere di Siviglia 2018 - Arena di Verona

Venue: Verona Arena

Piazza Brà, 1
37121 Verona
All dates

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Next performance (see season calendar above for other dates)
Event details
Composer: Gioachino Rossini

ACT 1 

Scene 1 

A square in Seville 

Count Almaviva, in love with Rosina, has tried to serenade his love, but she will not appear on the balcony of her room. Rosina is also the secret object of Dr Bartolo’s desires and he guards his ward with a jealous possessiveness. Disappointed, Almaviva is about to give up and leave when the boisterous figure of Figaro arrives, bragging of the demand for his services throughout the city. Figaro numbers Bartolo among his many clients, for whom he (Figaro) is a Jack-of-all-trades and a regular visitor to the house. Almaviva, recognising the usefulness of this, divulges his love for Rosina to Figaro and enlists the latter’s help. 
While they are talking, Rosina appears on the balcony and throws a love letter down to the two men below. Notwithstanding the immediate intervention of Dr Bartolo, Almaviva succeeds in obtaining the letter and responds to Rosina with a passionate love song, accompanied by the guitar. In this, he declares his love for her, denies his noble birth and pretends to be a poor but sincere student, “Lindoro”, instead. Since Rosina is unable to return her feelings openly from the balcony, Almaviva decides to go to the house to meet her face-to-face. Figaro restrains Almaviva, counselling him, rather, to present himself to the family in disguise, pretending to be a soldier who is to be billeted in their household. (There is a regiment of soldiers temporarily stationed in the city.) In order that their stratagem should be as plausible as possible, Figaro further suggests that Almaviva should appear to be drunk. 

Scene 2 

Dr Bartolo’s home 

In the Bartolo household, Rosina reflects on this sudden intrusion of “Lindoro” in her life. She decides to do everything necessary to fulfil her wishes and entrusts a love letter to Figaro – who has come, under a pretence, to learn her feelings towards the young “student”. Meanwhile, Bartolo returns and, sensing that a plot is afoot, hastily decides to bring forward his plans to marry his ward himself. He demands to know if Rosina has been writing a letter to someone, as she has ink-stained fingers, but she denies it. Having informed Rosina’s music teacher, Don Basilio, of his decision to marry her as soon as possible, he is alarmed to learn of another difficulty. Count Almaviva, whose affection for Rosina is known, has been seen in the city. Together, they decide the only way to combat this threat is to destroy Almaviva’s reputation by slander. Suddenly, Almaviva arrives at the house disguised as a soldier and he shows Bartolo his orders to be billeted at his home. Rosina arrives at the same time – although her guardian wants her to stay in the background. The “soldier” reveals to Rosina that he is “Lindoro” and passes her a letter. Bartolo sees the letter change hands, but Rosina manages to substitute it with a washing list, prevent him from reading the contents. Finally, soldiers arrive at the door, wanting to know the reason for the uproar in the house. They recognise Almaviva despite his disguise and conduct him away. 

ACT 2 

Scene 1 

Dr Bartolo’s home while Bartolo is musing on the many suspicious things that have been taking place in his home, he receives another strange visitor. It is Figaro, accompanied by a certain “Don Alonso” – ostensibly a master of music – who is standing in for Don Basilio, on account of the latter’s supposed “ill-health”. The “music master” is, of course, none other than Almaviva, who – having managed to persuade the soldiers to release him – is in yet another disguise suggested by Figaro. However, his impersonation of the arrogant “teacher” does not entirely convince the doctor. When Rosina arrives, “Don Alonso” starts to give her a singing lesson, but she instantly recognises his true identity. While they are having their “lesson”, Bartolo – overcoming his initial mistrust – allows himself be shaved by Figaro, who uses the opportunity to steal the key to the balcony. At the crucial point, Don Basilio arrives, but thanks to Almaviva’s charm (and a gift of money) agrees to remain “unwell” and not to inform Bartolo. 

Scene 2 

Bartolo’s shaving continues and the two lovers are now able to talk without interference. However, notwithstanding the deceptions of Figaro, the suspicious guardian still manages to surprise the two as they are planning Rosina’s escape. Bartolo is certain that “Lindoro” is merely an intermediary sent by Almaviva and convinces Rosina too, who becomes furious at the supposed deception and, in revenge, agrees to marry her guardian instead. Fortunately, a storm later allows Figaro e “Lindoro” to return to the house via the balcony and reassure Rosina that the “student” is really Almaviva himself. While the two lovers exchange declarations of love for each other – further delaying their escape – Figaro notices the arrival of the notary who is due to undertake the formalities of Bartolo’s wedding. Figaro is quick to manipulate the situation to the lovers’ advantage. Rosina and Almaviva present themselves as the bride and groom, while Bartolo arrives to late to prevent their marriage. 

Program details

Il Barbiere di Siviglia

Dramma comico in 2 acts by Gioachino Rossini
Libretto by Cesare Sterbini

Verona Arena

The Verona Arena (Arena di Verona) is a Roman amphitheatre in Piazza Bra in Verona, Italy built in 30 AD. It is still in use today and is internationally famous for the large-scale opera performances given there. It is one of the best preserved ancient structures of its kind.





The building itself was built in AD 30 on a site which was then beyond the city walls. The ludi (shows and games) staged there were so famous that spectators came from many other places, often far away, to witness them. The amphitheatre could host more than 30,000 spectators in ancient times.

The round façade of the building was originally composed of white and pink limestone from Valpolicella, but after a major earthquake in 1117, which almost completely destroyed the structure's outer ring, except for the so-called "ala", the stone was quarried for re-use in other buildings. Nevertheless it impressed medieval visitors to the city, one of whom considered it to have been a labyrinth, without ingress or egress. Ciriaco d'Ancona was filled with admiration for the way it had been built and Giovanni Antonio Panteo's civic panegyric De laudibus veronae, 1483, remarked that it struck the viewer as a construction that was more than human.


Musical theatre


The first interventions to recover the arena's function as a theatre began during the Renaissance. Some operatic performances were later mounted in the building during the 1850s, owing to its outstanding acoustics.

And in 1913, operatic performances in the arena commenced in earnest due to the zeal and initiative of the Italian operatenor Giovanni Zenatello and the impresario Ottone Rovato. The first 20th-century operatic production at the arena, a staging of Giuseppe Verdi's Aida, took place on 10 August of that year, to mark the birth of Verdi 100 years before in 1813. Musical luminaries such as Puccini and Mascagni were in attendance. Since then, summer seasons of opera have been mounted continually at the arena, except in 1915–18 and 1940–45, when Europe was convulsed in war.

Nowadays, at least four productions (sometimes up to six) are mounted each year between June and August. During the winter months, the local opera and ballet companies perform at the L'Accademia Filarmonica.

Modern-day travellers are advised that admission tickets to sit on the arena's stone steps are much cheaper to buy than tickets giving access to the padded chairs available on lower levels. Candles are distributed to the audience and lit after sunset around the arena.

Every year over 500,000 people see productions of the popular operas in this arena.[3] Once capable of housing 20,000 patrons per performance (now limited to 15,000 because of safety reasons), the arena has featured many of world's most notable opera singers. In the post-World War II era, they have included Giuseppe Di Stefano, Maria Callas, Tito Gobbi and Renata Tebaldi among other names. A number of conductors have appeared there, too. The official arena shop has historical recordings made by some of them available for sale.

The opera productions in the Verona Arena had not used any microphones or loudspeakers until an electronic sound reinforcement system was installed in 2011.


How to reach Verona


By Car
Verona is easily reached by taking:
- the A4 Motorway SERENISSIMA, Milan-Venice, exit Verona Sud.
- or by taking the A22 Motorway Brennero-Modena, followed by the A4 Motorway Milan-Venice, direction Venice, exit Verona Sud.
Then follow the signs for all directions ('tutte le direzioni) followed by the signs for the city centre. 
Approximative distances from Verona by Motorways:
Vicenza km 51 Venezia km 114 Florence km 230 
Brescia km 68 Bologna km 142 Rome km 600 
Padova km 84 Bolzano km 157 Naples km 800 
Trento km 103 Milan km 161 

By Bus
The city centre is linked to the surrounding towns and villages, as well as Lake Garda, by a public transport bus service (the buses are blue in colour) which can be accessed at the bus station, situated directly opposite the train station (APTV Service). Click here for timetables and routes. 

By Train
The main railway station is VERONA PORTA NUOVA, which is the crossroads of both the Milan - Venice line and the Brennero - Rome line. 
There are direct trains and InterCity trains from all the main railway stations in the north of Italy throughout the day. 
Duration of trip : from Padua 40 minutes; from Vicenza 30 minutes; from Venice 1½ hours; from Milan 2 hours and from Rome 5 hours. 
City buses can be taken from the train station to the city centre and arrive in Piazza Bra, the central square where the Arena Amphitheatre is found. 
The Bus numbers are 11, 12, 13, 14, 72 and 73. 

By Plane
Verona's international Airport Catullo in Villafranca is situated approximately 10 km S-W of the city centre. 
There is a shuttle bus service to and from the airport approximately every 20 minutes from 06.10 to 23.30. 
The airport bus terminal is outside Porta Nuova Railway Station. 
Brescia Montichiari Airport which is situated approximately 52 kilometres from Verona, is also linked to Verona Porta Nuova Train station by a shuttle bus which runs approximately twice a day, in the morning and in the evening. Again the bus terminal is outside Porta Nuova Railway Station. 


Parking  - Getting by car and parking next to the Arena

From highway A4 or A22 get the exit for Verona Sud.
Follow the signal “tutte le direzioni” (all directions) and then Verona city centre. 

Parking Arena
Via M.Bentegodi,8 - Verona - 37122

Parking Arsenale
Piazza Arsenale,8 - Verona - 37126

Parking Isolo
Via Ponte Pignolo, 6/c - Verona - 37129

Parking Polo Zanotto
Viale Università,4 - Verona - 37129

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